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Borderlands: spiritualism and the occult in fin de sicle and Edwardian Welsh and Irish horror

机译:边疆:唯灵论和爱德华七世时代的威尔士和爱尔兰恐怖的神秘主义

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This article sets out to examine the pervasive influence of spiritualist and occultist thinking on a number of Fin-de-sicle writers of popular horror fictions set in Wales or Ireland and published in the late nineteenth and early twentieth centuries, most notably in the work of Arthur Machen, but also in that of William Hope Hodgson and H. P. Lovecraft. The article also examines the influence of occult Celticism on a pair of landmark early Universal horror films, James Whale's The Old Dark House (1933) and George Waggner's The Wolf Man (1941), both set in Wales. The article examines the significance of the omphalos as a geomantic singularity of spiritual force, a portal between two worlds, and uses this to suggest ways in which many writers around the turn of the nineteenth into the twentieth century saw themselves as straddling a borderland between the worlds of spirit and matter. Furthermore, the theories and rhetoric of Celticism, I suggest, are put to characteristically contradictory ends in these fictions (and elsewhere), simultaneously validating the spiritual identity of the native Welsh and Irish, and subhumanizing or monstering them through their recurring representation as inarticulate beast-men.
机译:本文着手研究精神主义和神秘主义思想对威尔士或爱尔兰,并于19世纪末至20世纪初出版的一些流行恐怖小说的鳍尾作家的普遍影响,尤其是在Arthur Machen,还有William Hope Hodgson和HP Lovecraft。本文还考察了神秘的凯尔特主义对两部具有里程碑意义的早期环球恐怖电影的影响,这两部电影都是在威尔士上映的詹姆斯·鲸鱼的《老黑屋》(1933年)和乔治·沃格纳的《狼人》(1941年)。这篇文章考察了方阵作为灵性力量的风水奇异性(两个世界之间的门户)的重要性,并以此为基础提出了十九世纪初至二十世纪许多作家认为自己跨过两岸之间边界的方式。精神和物质世界。此外,我建议,凯尔特主义的理论和言论在这些小说(以及其他小说)中都具有独特的矛盾性,同时验证了威尔士人和爱尔兰人的属灵身份,并通过它们反复出现的不讲道理的野兽而使他们不人道化或妖怪化-男人。

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